Gudsen, maker of the MOZA line of gimbals, recently announced significant updates to their gimbal lineup, releasing the MOZA Air 2 and announcing the MOZA Air X. The MOZA Air 2 is a single hand pistol grip style gimbal with an updated payload capacity, whereas the the MOZA Air X promises a more versatile approach to two handed gimbals with high payload. Let’s check them out.
MOZA Air 2
The MOZA Air 2 follows the MOZA Air with an updated design and higher payload capacity, as well as new features. Where the original MOZA Air was designed along the lines of a more traditional single hand pistol grip gimbal and topped out at a payload of 3.2kg / 7.0lbs, the updated MOZA Air 2 can carry anything starting at 0.3kg / 0.7lbs up to 4.2kg / 9.3 lbs. The gimbal is also designed to leave the view on a mirrorless camera’s backside monitor unobstructed, placing the roll motor at an angle, similar to what the DJI Ronin-S does. It achieves this, coming in at only 1.6kg / 3.5lbs including the batteries. Based purely on manufacturer specs this means it beats the DJI Ronin-S on a weight-to-payload-ratio basis (1.85kg to 3.6kg / 4.1lbs to 7.9lbs). Of course this kind of manufacturer-provided specification should always be taken with a grain of salt and rather subjected to testing. Among the cameras Gudsen declares as supported are some larger cameras, most notably the Sony FS5, Canon 1DX MarkII or the Blackmagic Cinema Camera.
The MOZA Air 2 sports a pistol trigger on the grip, a focus wheel on its left side, while the joystick, monitor and 4-way-dial with two additional buttons, as well as a record button are placed on the backside of the grip, for easy access using your thumb or other hand. Slightly above the pistol trigger, the MOZA Air 2 has a mini rosette attachment, the grip’s bottom on the other hand provides two screw threads, one 1/4″-20, and one 3/8″. Cameras are mounted with a Manfrotto-compatible quick release plate.
The power situation is also quite well handled here, with a battery life of 14 hours, and the ability to charge the gimbal via USB while operating. Additionally the MOZA Air 2 has a luxury 3 USB power outlets. Charging time could be faster though, at 5 hours.
Software-wise the MOZA Air 2 supports 8 follow-modes ranging from all-axis, to single axis, two-axis-combinations and all-locked. It has a “Sport Gear Mode” for quick whip pans and a so-called “Inception Mode” which looks like a combination of a 360° roll with a zoom and also motion timelapses. As is to be expected the MOZA Air 2 works with all MOZA accessories like the MOZA iFocus or the Wireless Thumb Controller.
MOZA Air X
Now the MOZA Air X is an interesting one. Similar to the Zhiyun Crane 3 LAB & WEEBILL LAB it departs from both the traditional one-handed pistol grip gimbal, as well as the two-handed design of the original Ronin. Rather it tries to achieve something more modern, modular and flexible, while also retaining a high payload capacity. So here are the most important specs that we know, as the gimbal has only been announced and is expected in the first quarter of 2019:
Max. payload: 6.0kg / 13.2lbs
Gimbal weight: 1.4kg / 3.1lbs due to carbon fibre construction
Detachable thumb controller that can be either repositioned on the gimbal or used wirelessly for up to 100m / 328ft.
Mimic motion control
DC in and out, USB-C
Bluetooth 5.0, Wifi, 2.4Ghz wireless
Follow modes, time-lapse, hyper-lapse, motion time-lapse, Vertigo shots, Inception Mode, Sport Gear Mode
The most interesting thing however is the body design itself. It consists of the gimbal itself, which despite the two-handed design is positioned upright, similar to the MOZA Air 2 and the DJI Ronin-S. The actual grips however can be configured to a multitude of different positions in relation to each other. If you want to set the gimbal down, the main grip, the one that houses the detachable thumb-controller as well as the other controls, will function as the third leg of a tripod of sorts, with the front grip splitting up to provide the other two legs. Additionally the main grip, can be rotated 180° so the handle faces up, opposite second grip, which in turn can rotated longitudinally around its attachment.
This allows for a myriad of configuration options, either holding the gimbal upright, tucking it against your torso or even using it one-handedly in briefcase mode. Also the gimbal can be folded up pretty into a 17″ wide package for easy transportation – all you original Ronin owners out there, rejoice! Gudsen is also teasing a slider attachment for the MOZA Air X, effectively making it into a full motion control solution.
Of course all of this remains to be tested when it’s actually out, but the MOZA Air X promises to be a pretty groundbreaking improvement as far as medium payload gimbals go.
So what do you think? Are you interested in the new MOZA Air 2 and MOZA Air X gimbals? Which one has you more excited? Let us know in the comments!

The Steadicam Volt is a unique compact stabilizer for smartphones and action cams that was very successful on Kickstarter in the first half of 2017. It is now available for purchase.
We first reported about this product back in January 2017 upon launch of the Kickstarter campaign. The Steadicam Volt was developed by the Tiffen company, a pioneer in the camera stabilizing business, with its line of Steadicam stabilisers now a staple of the industry.
What makes this stabilizer so unique is its construction. Its motor helps it achieve smooth shots, but the Volt is also capable of stabilising without it thanks to the mechanical function of the included counterweights. This can obviously be very handy for situations when the stabilizer’s battery is empty. For certain shots, it is even desired to have that more fluid kind of motion given by a traditional mechanical stabilizer rather than the precise “machine-like” stabilized shots from a motorized 3-axis gimbal. I like the fact that this stabilizer offers both.
Steadicam Volt – Tech Specs
Maximum payload: 100-250 g (3.5-8.8 oz)
Maximum Smartphone width: 58-85 mm (2.2-3.3″) (with or without case)
Compatibility with Gopro via included mount
Rechargeable Li-Ion battery
Image credit: Tiffen.com
During the Kickstarter campaign it was possible to get the first few units of the stabilizer for $120. The final retail price for the Steadicam Volt is now just under $200, with immediate shipping availability.
Do you like the different design of this stabilizer or do you prefer standard 3-axis motorized-only gimbals? Would you possibly like to see a bigger Steadicam Volt for mirrorless cameras in the future? Let us know in the comments below.
Via: Nofilmschool

As the owner of a rental house, Stewart Addison has seen the rise in popularity of gimbals first hand. But could this device be considered as revolutionary to filmmaking as the humble tripod? Here’s his thoughts.
Many filmmakers can point to the tripod as the tool that set them on the path to serious filmmaking. Regardless of camera or lens or codec, a properly-used, good-quality fluid head and legs can be the defining line between a professional-looking piece and an amateur one. Once filmmakers learn this, many of us never leave home without one. In 2017 though, the tripod isn’t alone on this pedestal anymore (nice pun).
Just as tripod affordability made unintentionally shaky video unacceptable, increasing user-friendliness and expansion of gimbals into most budget sizes has made smooth camera movement a necessary offering for any production. How the gimbal got to such a ubiquitous place, just as the positive and negative consequences of it, cannot be ignored.
From Steadicam to Gimbals – How We Got Here
The brushless 3-axis gimbals we know today are a natural extension of the Steadicam, which is itself a relatively new addition to the filmmaking landscape. American cinematographer Garrett Brown first came up with the idea of the Steadicam in the early 1970’s, but it wasn’t until the end of that decade that its implementation would be fully realized. Films like Bound for Glory, Rocky and The Shining cemented the Steadicam’s place in cinema history, untethering cameras from the tripods, tracks, or cranes they had been previously bound to. Most importantly, the Steadicam allowed filmmakers to begin thinking of camera movement in a different way.
Ronin 2
But before moving to motorized gimbals, let’s rewind a little bit. The concept of a gimbal isn’t new at all. In fact, it’s over a thousand years old. BC Greeks conceived it for pottery while Chinese inventors came up with a similar design for burning incense. Since then, gimbals have been used throughout history on everything from early navigation systems to rocket engines. I don’t know how much this information will impact your filmmaking life, but it’s interesting to think about.
Moving on!
Nino Leitner operating the MoVI M10
2013 is when everything changed. The MoVi M5 and M10 made brushless motorized gimbals a reality and were announced to major hype. For the first time, filmmakers were given access to beautiful Steadicam shots at a reduced price and with less required expertise, but MoVi was only the beginning. Rival companies began offering even less expensive gimbals in the MoVi mold. Most notably, DJI released the Ronin line, which has become the other dominant force in the gimbal industry.
All of these changes, of course, are being propelled by the emergence of drones, which also use gimbal technology for stabilization. Within two years of the MoVi announcement, filmmakers were offered truly inexpensive gimbal options with the DJI Osmo. The Gimbal shot was now available to filmmakers of every budget, making it hard to avoid seeing video content that didn’t employ a gimbal in some way. From commercials to YouTube videos, the saturation of gimbals in the filmmaking market has put a premium on smooth camera movement. Hell, even vloggers are taking advantage of being able to finally be able to walk, talk and film with ease now.
DJI Osmo
Note: As the owner of a rental house, I’ve seen skyrocketing gimbal use firsthand. The freedom gimbals have given filmmakers in just a few short years is amazing. There is, however, a learning curve. Yes, gimbals are easier to operate than a Steadicam, but balancing a MoVi or a Ronin takes time and practice. I’ve had many a frustrated customer return a ‘faulty’ Ronin on the basis that the gimbal wouldn’t work properly, when upon inspection, it simply wasn’t balanced correctly. Know your gear, filmmakers!
The gimbals have arrived, but now comes the real question.
What Do We Do Now?
Gimbal shots are all the rage. Why wouldn’t they be? Anyone paying for video work can see what smooth movement can bring to a project. This isn’t nuanced like color science – a good gimbal shot can be flashy in a way that makes someone pause from their social media scrolling. In today’s video world, that’s worth real money. On the filmmaker’s end, gimbals can be a less-expensive way to add real production value to your limited budget. The benefits are all around.
When I say that gimbals are the new tripod, I don’t mean that they’re replacing tripods. Like tripods, gimbals are becoming a mandatory item for filmmakers to be familiar with and know how to use. Also like tripods, they offer a fairly easy learning curve and don’t require the kind of specialization their Steadicam counterparts did.
Finally, and most importantly, both gimbals and tripods come at such a wide price range that filmmakers can evolve with them. Much like a filmmaker who starts with a $200 tripod to learn framing and basic camera movement and then advances to a $12,000 tripod for the smoothest, most perfectly-timed shots, a filmmaker beginning on an Osmo today could be ready for a MoVi in a year or so.
Zhiyun Crane – a popular one-handed gimbal
It’s also worth mentioning that, again like tripods, just because we can gimbal the hell out of a shoot doesn’t mean we should. The market is already saturated with the gimbal look, meaning that filmmakers still have to be good at other things. Camera motion for camera motion’s sake looks silly, and there’s an abundance of it out there, similar to the shallow depth of field craze when the Canon 5D MKII video mode arrived where everything was shot positively wide open. You still have to be a well-rounded filmmaker to make gimbals work for you. If you have the kind of awareness and restraint to know when motion is needed and when it isn’t, gimbals are a godsend.
Are gimbals necessary for every shoot? Absolutely not. Neither are tripods, technically, but I’m sure you’ve kept one with you even when you didn’t think you’d need it. For filmmakers trying to capture attention in the scrolling world of social media video, or those trying to attract bigger clients with something impressive, or for filmmakers trying to emulate Scorsese’s infamous Copacabana Steadicam tracking shot in Goodfellas, a gimbal is not only a necessary piece of gear to have access to, but a necessary one to master as well.
Keep it next to your tripod.
The Counter-Argument
Conversely, maybe I could argue that gimbals have become a style – and styles fade, don’t they?
Yes, gimbals offer affordable solutions to the type of camera movements filmmakers have wanted to make for a century. Those movements, however, aren’t often as nuanced as the movements you make on a tripod or slider. Gimbal smoothness is instantly identifiable in the finished product. A gimbal shot almost always makes the camera appear to float, relies on a wide-angle lens to make focusing easier and often features low or high angles that gimbals have unique access to. In other words, gimbal shots have a look. If that look doesn’t change, isn’t refined or doesn’t develop over time, the gimbal shot could face the same fate as the 70’s zoom, rarely seen today due to its dated affect. If that’s the case, then gimbals aren’t necessary, they are a luxury, one we perhaps shouldn’t be overly excited to embrace.
MōVI Pro
Ultimately, though, I don’t honestly think this is the case. Gimbals can be used subtly, and their usefulness as a potential time-saver means filmmakers will find new ways to keep them relevant. The Steadicam certainly didn’t peak in 1983, and I doubt gimbals will peak now – on the contrary, the technology is still only developing, something that is plain to see with the likes of the Ronin 2 and MōVI Pro, game changers that are really pushing the technological boundaries.
How often do you deploy gimbals in your productions? Do you think they should be a part of every filmmaker’s arsenal? Let us know your thoughts in the comments below!

Steadicam has used Kickstarter as the platform for their latest product, the Steadicam Volt. It is self-proclaimed as The Best Electronic Handheld Stabilizer, with original inventor Garrett Brown saying it offers “the inertia and the feel of large cinema systems”. Its use? Smartphones.
Yes, the latest revolutionary product from industry giants Steadicam is a Kickstarter campaign for an electronic handheld stabilizer for your smartphone. The response on Kickstarter alone is testament to just how relevant this product could be, smashing their $100K pledge within 3 days of release.
The Steadicam Volt is an electronic stabilizer for smartphones, but differs from handheld gimbals like the Osmo in that it doesn’t rely on motors for stabilization all: its counter-weight system allows you to perfectly balance the Volt without any batteries.
The impressive thing about the Steadicam Volt is this “inertia and feel” that Steadicam legend Garrett Brown talks about. The responsiveness of the Volt really is really quite impressive, just check out the video below where it’s compared to a handheld gimbal system.
A trade-off is that you’re now competing with the poor read/reset timing of the CMOS sensor on most, if not all smartphones, so you may suffer from rolling shutter artefacts. Steadicam may have a solution for this, however, in the Volt’s dual Sport and Movie modes. I assume the latter decreases response time for user input to allow a slower move:
Sport Mode assists in capturing fast moving moments more easily and professionally.
Movie Mode gives you more freedom in creating cinema like movements.
The Steadicam Volt is compact, folds down to fit into large, over-sized pockets, has 8 hours of battery life and takes any smartphone with case-combo from 100 – 200g in weight and 58 to 80mm wide.
Steadicam Volt – Tech Specs
Lightweight folding design that enables easy storage and transportation
Accompanying iOS & Android APP allows for precise balance and tuning
Haptic control utilizes Simulated Inertia
Dual operating modes for beginners and experienced users
Uses long-life rechargeable Lithium Ion batteries
Accommodates phone sizes with or without case from 100 – 200g in weight and 58 to 80mm wide
Bluetooth enabled
Works in manual mode even after your batteries are depleted
Pricing: Current available Kickstarter rewards get you a Steadicam Volt for $139. A higher pledge includes a workshop experience to increase your stabilization operation knowledge.
I see this as getting most of its use in the consumer world, working with an existing device that everyone already carries around in their pocket. People will just need to bother to take the Volt out with them also. From this point of view, ease of use and setup time will be critical.
In the professional world? That’s a question for how seriously the industry takes Phonematography (I’m coining that, lolz). It could prove useful for reference videos on recces and location scouts, and hassle-free Behind the Scenes footage where the “instant share” nature of the smartphone content is coupled with an easy-to-use and stable system like this.
Sound useful? Let us know in the comments section below!

Since the Freefly MøVi and the DJI Ronin came along a few years ago, gimbals have taken over the stabilizing world – with the purely mechanical Steadicams still holding the holy grail of stabilization in many high-end feature film productions. Where does that leave GoPro stabilizers?
Horses for courses, gimbals are definitely not the right tool for everything – and they need power, which is a big drawback particularly in sports where it’s often impractical to change batteries often.
Along comes Stabylizr, a new purely mechanical and waterproof GoPro stabilizer for all the different models (I assume except for the Session). The team behind the project is based in Vienna just like our cinema5D headquarters, and we had various meetings during their development process. It’s an interesting concept that definitely will leave an impression on the industry due to its different approach. It doesn’t need power and is relatively small, which makes it easy to mount or simply throw in your bag to take along to various sports activities.
They have just started their Kickstarter campaign, offering a launch day exclusive offer for €79 just for today, and a regular early bird price of €89.
Please be sure to check out their Kickstarter page to find out more about the product and a step-by-step guide on how to actually put it to good use!

Watch previous episodes of ON THE COUCH & ON THE GO by clicking here! Visit our Vimeo and YouTube playlists, and subscribe to the podcast on iTunes!
Apologies for the delay in posting more episodes of ON THE COUCH until now, we had some technical problems with some of the recordings, but they are now sorted out. We pushed the less time critical episodes to the end, and there a few exciting ones coming over the next week or so.
On this 10th episode of ON THE COUCH, I talked to Tabb Firchau from Freefly Systems about new things in the world of their famous brushless gimbals. It’s been one year since the fuminant debut of the MōVI M10 with Vincent Laforet’s spectacular launch film, which propelled handheld gimbals into the filmmaking world stratosphere – ever since then, they have infiltrated an incountable number of productions around the world.
The big success of the MōVI introduction spurred a seemingly endless flurry of copycat systems from countless small and big manufacturers, with mixed results. I asked Tabb about this and what he thinks about the long-term success prospects of some of these companies. Tabb talked about Freefly’s new products – the now-shipping little brother of the M10, the M5, which is made for DSLR-sized cameras, the upcoming M15, the larger version for bigger cameras (such as the Alexa M), as well as innovation around their gimbals which makes them more versatile – for example a ring around the MōVI which makes hand-overs easier, or their plans to release a wheeled dolly-type version of the MōVI.
MōVI M5 for smaller cameras like DSLRs started shipping at NAB
We also had a chat about Freefly’s history and how they actually got to make make these gimbals in the first place. Freefly Systems’ sister film production company Freefly Cinema used to be their core business as they are all shooters who were looking to ways to move the camera – that’s when they founded Freefly Systems and they realized within 6 months that it had become a much bigger business than the production business.
Watch the episode above to learn more about where Freefly came from, where they are now and where they might be headed!
Next episode coming early next week … stay tuned to cinema5D.com.
For all ON THE COUCH episodes so far, click here:

Since April of this year many cameramen are looking forward to the new stabilization techniques that the so-called “brushless gymbal” approach promises. We’ve seen the famous MōVI and numerous helicopters with gymbal stabilization showing up. Unfortunately the MōVI is unaffordable for most of us due it’s hefty “15,000 pricetag.